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Chris Sharma spent weeks falling on the same move before Realization became the route that changed sport climbing forever. In 2001 at Céüse, France, Sharma was trying to finish a line that would become the world’s first confirmed 9a+ climb. The hardest part was not simply pulling harder. It... was learning a sequence where every small mistake in body position took away the chance to move on. Realization’s crux was a lesson in precision. The holds were small, the movement was powerful and the margin was tiny. Sharma had the strength to do the individual moves, but linking them required a different skill: making every foothold, hip turn and reach happen in the same rhythm. The project forced him into unfamiliar territory. Before this climb, Sharma was famous for natural talent and flowing movement. Realization demanded patience, repetition and accepting failure as part of the process. The breakthrough came when the moves stopped feeling like separate battles. The route was no longer a collection of impossible holds. It became one sequence that his body understood. That is what makes the footage still fascinating. The final send looks like a display of power, but the real achievement happened in all the attempts before it. The falls were where the climb was solved. Realization was eventually climbed by Sharma in July 2001 and pushed the idea of what was possible on rock. The route became a symbol of a shift in climbing: elite performance was no longer only about having the strongest fingers or biggest pull. It was about finding the exact movement that made the rock work. More than two decades later, the lesson remains visible in every project session: sometimes the hardest move is not the one that requires more strength. It is the one that requires you to understand the problem better.show more

The Boulderer

4,655 subscribers

35,293 görüntüleme • 11 gün önce •via X (Twitter)

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rob.eth profil fotoğrafı

rob.eth11 gün önce

If you wrote this yourself I might have finished reading it

A.M. Burns profil fotoğrafı

A.M. Burns11 gün önce

Now do it without a safety line!

Stephen T. Crye profil fotoğrafı

Stephen T. Crye11 gün önce

I remember that well. It had the climbing world enthralled.

Benzer Videolar

This is a video of me climbing Fractal Universe (5.13a R) in Sedona. It was the only trad route at an otherwise entirely bolted crag and it was decidedly heads up - soft rock and exciting gear. Earlier this winter I posted something about a route in Red Rock that I thought could use more bolts and some of my friends gave me grief for making climbing light duty (not too seriously, but they worried that I was promoting the wrong path). But in general, I love the adventurous side of climbing (obviously!) and this route in Sedona was the perfect example. I did many of the sport routes that day as well, but I only really remember the heads up trad route - the spiciness made it a lot more memorable. It was a good reminder that so much of the climbing experience is what you put into it. Higher commitment is often more rewarding.

This is a video of me climbing Fractal Universe (5.13a R) in Sedona. It was the only trad route at an otherwise entirely bolted crag and it was decidedly heads up - soft rock and exciting gear. Earlier this winter I posted something about a route in Red Rock that I thought could use more bolts and some of my friends gave me grief for making climbing light duty (not too seriously, but they worried that I was promoting the wrong path). But in general, I love the adventurous side of climbing (obviously!) and this route in Sedona was the perfect example. I did many of the sport routes that day as well, but I only really remember the heads up trad route - the spiciness made it a lot more memorable. It was a good reminder that so much of the climbing experience is what you put into it. Higher commitment is often more rewarding.

Alex Honnold

42,576 görüntüleme • 1 yıl önce

“They don't have to wait for the ICJ decision. In fact, for me, the most significant aspect of the interim orders of 26 January 2024 was that every country in the world was put on notice by the ICJ that there was a plausible risk of genocide in Gaza. And if it had not happened before that, it certainly happened then, that every country in the world became obliged under the law to take action, not to speak fine words, to take action to prevent genocide. There can be no doubt whatsoever that the obligation was activated on the 24th of January 2024, if not before.“

“They don't have to wait for the ICJ decision. In fact, for me, the most significant aspect of the interim orders of 26 January 2024 was that every country in the world was put on notice by the ICJ that there was a plausible risk of genocide in Gaza. And if it had not happened before that, it certainly happened then, that every country in the world became obliged under the law to take action, not to speak fine words, to take action to prevent genocide. There can be no doubt whatsoever that the obligation was activated on the 24th of January 2024, if not before.“

State of Palestine

125,665 görüntüleme • 11 ay önce

Oprah Winfrey said she called Meghan Markle in early 2018 asking for an interview and was told “it wasn’t the right time.” Now it’s being spun as if the palace blocked it. If Oprah was so interested in Meghan, what stopped her from interviewing her before Harry was even in the picture? Where was that interest when Meghan was just another working actress trying to make it? Where was the sit-down when she was deep in Suits, far from global headlines? No one needed palace permission back then. No one was “banned.” No palace. No restrictions. No “people in the room.” No one to “block” anything. You want to blame the palace as if it was some kind of silencing move, but you fail to understand that instead it exposes what this really is. Meghan Markle was simply not someone Oprah was prioritising for a major sit-down. Nor was Meghan Markle relevant enough for that level of attention. It’s also interesting how Meghan frames it as not being “allowed” to speak privately, with others present, as if that’s unusual. She was about to marry into one of the most scrutinised institutions in the world. Of course communications are structured. That’s not some shocking revelation, that’s standard. Then comes the key line. “Now we can speak freely.” “Now I can say yes.” So what changed? It only became “the right time” once she had the global platform, the title, and the leverage that came with the royal connection. You can’t rewrite this into a story about being silenced by the palace when the timeline shows something much simpler. The demand wasn’t there before Harry. The value wasn’t there before the royal family connection. And suddenly, after everything, we’re supposed to believe this was always about “not being allowed” rather than finally having something to sell. Let that sink it.

Oprah Winfrey said she called Meghan Markle in early 2018 asking for an interview and was told “it wasn’t the right time.” Now it’s being spun as if the palace blocked it. If Oprah was so interested in Meghan, what stopped her from interviewing her before Harry was even in the picture? Where was that interest when Meghan was just another working actress trying to make it? Where was the sit-down when she was deep in Suits, far from global headlines? No one needed palace permission back then. No one was “banned.” No palace. No restrictions. No “people in the room.” No one to “block” anything. You want to blame the palace as if it was some kind of silencing move, but you fail to understand that instead it exposes what this really is. Meghan Markle was simply not someone Oprah was prioritising for a major sit-down. Nor was Meghan Markle relevant enough for that level of attention. It’s also interesting how Meghan frames it as not being “allowed” to speak privately, with others present, as if that’s unusual. She was about to marry into one of the most scrutinised institutions in the world. Of course communications are structured. That’s not some shocking revelation, that’s standard. Then comes the key line. “Now we can speak freely.” “Now I can say yes.” So what changed? It only became “the right time” once she had the global platform, the title, and the leverage that came with the royal connection. You can’t rewrite this into a story about being silenced by the palace when the timeline shows something much simpler. The demand wasn’t there before Harry. The value wasn’t there before the royal family connection. And suddenly, after everything, we’re supposed to believe this was always about “not being allowed” rather than finally having something to sell. Let that sink it.

Queen Esther

149,986 görüntüleme • 4 ay önce

Kenny Smith says Michael Jordan is the only player who came into the league where his weaknesses when he left the league were his strengths "this is to me what makes him the greatest player in the world...most guys come in with the strength and they get better at it" "his ball handler was good but then it became great...his shot was inconsistent and then it became indefensible" "he's the only player I look at it like that...his post game there was no flaw...I didn't know he'd be that good but I know he was a hard worker"

Kenny Smith says Michael Jordan is the only player who came into the league where his weaknesses when he left the league were his strengths "this is to me what makes him the greatest player in the world...most guys come in with the strength and they get better at it" "his ball handler was good but then it became great...his shot was inconsistent and then it became indefensible" "he's the only player I look at it like that...his post game there was no flaw...I didn't know he'd be that good but I know he was a hard worker"

CreativeDude

149,377 görüntüleme • 2 ay önce

Some events begin long before the first guest arrives. Yesterday, I was reminded that excellence is often found in the details. Before a single conversation was held, before the first applause echoed through the hall, the venue was already telling a story. It wasn’t just beautifully designed, it was thoughtfully created. Every corner reflected purpose. Every detail carried intention. Every space seemed to whisper, “Something significant is about to happen.” It was more than décor. It was an experience. An atmosphere that welcomed people, stirred anticipation and honoured the journey that brought us all together. Sometimes, beauty isn’t about extravagance. It’s about creating a space where people feel that they are part of something meaningful. Yesterday, before the pages of 999 were officially opened, the venue had already begun telling the story. And what a beautiful story it was. Asanwa

Some events begin long before the first guest arrives. Yesterday, I was reminded that excellence is often found in the details. Before a single conversation was held, before the first applause echoed through the hall, the venue was already telling a story. It wasn’t just beautifully designed, it was thoughtfully created. Every corner reflected purpose. Every detail carried intention. Every space seemed to whisper, “Something significant is about to happen.” It was more than décor. It was an experience. An atmosphere that welcomed people, stirred anticipation and honoured the journey that brought us all together. Sometimes, beauty isn’t about extravagance. It’s about creating a space where people feel that they are part of something meaningful. Yesterday, before the pages of 999 were officially opened, the venue had already begun telling the story. And what a beautiful story it was. Asanwa

Charly Boy Area Fada 1

13,722 görüntüleme • 1 ay önce

The human body has limits — but Chris Sharma showed they’re negotiable. In 2001, he walked into a cave in Mallorca, looked up at a 70-foot roof with no ropes… and decided to climb it anyway. For months he fell straight into the ocean. Over and over. No audience. No sponsors. Just a mission. But the day he finally stuck the dyno — that impossible leap between two tiny holds — everything changed. He completed “Es Pontas,” one of the hardest free-solo deep-water climbs ever attempted. A route so absurd most climbers didn’t even believe it was possible. The lesson? Your breakthrough rarely announces itself. It usually shows up disguised as failure, repetition, and days when nobody’s watching. Keep climbing. Your “Es Pontas moment” might be just one more try away. 🧗🔥

The human body has limits — but Chris Sharma showed they’re negotiable. In 2001, he walked into a cave in Mallorca, looked up at a 70-foot roof with no ropes… and decided to climb it anyway. For months he fell straight into the ocean. Over and over. No audience. No sponsors. Just a mission. But the day he finally stuck the dyno — that impossible leap between two tiny holds — everything changed. He completed “Es Pontas,” one of the hardest free-solo deep-water climbs ever attempted. A route so absurd most climbers didn’t even believe it was possible. The lesson? Your breakthrough rarely announces itself. It usually shows up disguised as failure, repetition, and days when nobody’s watching. Keep climbing. Your “Es Pontas moment” might be just one more try away. 🧗🔥

Ryan Cey

1,565,440 görüntüleme • 9 ay önce

Warner: You were involved in an FBI operation to seize ballots in Georgia. Where is the authority for you to involve yourself in a domestic law enforcement activity? Gabbard: I did not participate in a law enforcement activity. Warner: You were present on the scene. Gabbard: I was there at the request of the president… I was not aware of what was in the warrant or was not. Warner: What was the request of the president? Gabbard: To go and observe Warner: Do you have the answer why the president was knowing about the affidavit before it was even served? Gabbard: I'm not aware that the president knew about an affidavit before it was served. Warner: Then why was he sending you to Fulton county?

Warner: You were involved in an FBI operation to seize ballots in Georgia. Where is the authority for you to involve yourself in a domestic law enforcement activity? Gabbard: I did not participate in a law enforcement activity. Warner: You were present on the scene. Gabbard: I was there at the request of the president… I was not aware of what was in the warrant or was not. Warner: What was the request of the president? Gabbard: To go and observe Warner: Do you have the answer why the president was knowing about the affidavit before it was even served? Gabbard: I'm not aware that the president knew about an affidavit before it was served. Warner: Then why was he sending you to Fulton county?

Acyn

913,107 görüntüleme • 5 ay önce

David Simon on the barriers "The Wire" (2002-2008) faced: "Interviewer: Do you think the fact you're telling stories in different ways than is traditional, and it has this darkness to it, was that the big barrier to the show becoming more popular than it was? Would you say it was the racial makeup of the cast? Simon: There were a lot of barriers. The racial makeup of the cast was problematic and we knew that going in. The complexity of the serial itself -- the fact that you couldn't miss a couple of episodes and feel comfortable watching it. Though I think that HBO was a wonderful vehicle for that with the multiple viewings, the DVDs and ultimately with On Demand. It was less of a problem as the show went on. It was also less of a problem as people who watched the show got used to its rhythms. The first season was on some level training the audience to watch television a little bit differently, and reducing the expectations in terms of pacing, in terms of cliffhangers, in terms of the requirement to absorb detail or even to look for symbolism. Those were problems. The other problem is, no easy gratifications, other than some real effort at careful characterization and humor. That was it. Without the humor, it would have been unbearable. Without an acknowledgement of the humanity of the characters, despite all their flaws, their vanities, their absurdities -- if on some level, you can't make people care about the characters, you've got a problem no matter what you're doing. We had some obligations to people if they wanted to watch, but a happy ending was not among the list of obligations." (David Simon's interview with Alan Sepinwall, 2008) P.S: On this day, 24 years ago, the first episode of "The Wire" was aired worldwide.

David Simon on the barriers "The Wire" (2002-2008) faced: "Interviewer: Do you think the fact you're telling stories in different ways than is traditional, and it has this darkness to it, was that the big barrier to the show becoming more popular than it was? Would you say it was the racial makeup of the cast? Simon: There were a lot of barriers. The racial makeup of the cast was problematic and we knew that going in. The complexity of the serial itself -- the fact that you couldn't miss a couple of episodes and feel comfortable watching it. Though I think that HBO was a wonderful vehicle for that with the multiple viewings, the DVDs and ultimately with On Demand. It was less of a problem as the show went on. It was also less of a problem as people who watched the show got used to its rhythms. The first season was on some level training the audience to watch television a little bit differently, and reducing the expectations in terms of pacing, in terms of cliffhangers, in terms of the requirement to absorb detail or even to look for symbolism. Those were problems. The other problem is, no easy gratifications, other than some real effort at careful characterization and humor. That was it. Without the humor, it would have been unbearable. Without an acknowledgement of the humanity of the characters, despite all their flaws, their vanities, their absurdities -- if on some level, you can't make people care about the characters, you've got a problem no matter what you're doing. We had some obligations to people if they wanted to watch, but a happy ending was not among the list of obligations." (David Simon's interview with Alan Sepinwall, 2008) P.S: On this day, 24 years ago, the first episode of "The Wire" was aired worldwide.

DepressedBergman

33,114 görüntüleme • 3 ay önce

When The Hobbit Announcement trailer was released on December 23, 2011, Peter Jackson was still planning the project as a two-film adaptation rather than a trilogy. Later, on July 30, 2012, it was announced that The Hobbit would be expanded into a trilogy, just like The Lord of the Rings. In my opinion, this was one of the biggest mistakes made in the adaptation. Do you think the upcoming The Lord of the Rings: The Hunt for Gollum, set to be released in December 2027, might make the same mistake and be expanded into a trilogy as well? What are your thoughts on this?

When The Hobbit Announcement trailer was released on December 23, 2011, Peter Jackson was still planning the project as a two-film adaptation rather than a trilogy. Later, on July 30, 2012, it was announced that The Hobbit would be expanded into a trilogy, just like The Lord of the Rings. In my opinion, this was one of the biggest mistakes made in the adaptation. Do you think the upcoming The Lord of the Rings: The Hunt for Gollum, set to be released in December 2027, might make the same mistake and be expanded into a trilogy as well? What are your thoughts on this?

LOTR Universe

27,298 görüntüleme • 3 ay önce

John Carpenter on how Howard Hawks's "Rio Bravo" (1959) inspired him to become a filmmaker: "As I got older I began to see that certain directors did certain things. One of the earliest examples of this was Roger Corman. I started going to see these exciting, fast, kind of cheesy but really fun monster movies, and there was one name that kept coming up on the screen: Roger Corman. 'It Conquered the World' (1956), 'Not of This Earth' (1957), 'Attack of the Crab Monsters' (1957), 'The Undead' (1957)... But | really understood for the first time what a director did when I saw 'Rio Bravo' in 1959. There was something about that movie that was like home and I can't really explain it. It was held over in Bowling Green for three or four weeks in a row because people kept coming to see it. I abandoned to see what was new in the other movie house in town to see this movie every weekend again and again because there was something in it that was different from the other westerns I had seen. I had certainly seen John Wayne before. He had become a part of my growing-up experience. He was the action guy, the cowboy. He was the guy in 'Flying Tigers' (1942) who was flying the airplanes. So what was so different about that movie? Then I became aware of this credit: “Howard Hawks’ Rio Bravo.” I looked at the poster and I said to myself, “Who is this guy? He didn't write the movie and he wasn't starring in it so why is his name up here? And why is he last in the credits?” All these things started to occur to me, but it was the emotional impact of the film that got me to start using my brain. Some way I figure out that this director made that movie." ("The Prince of Darkness: The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering the great American filmmaker Howard Hawks on his 130th birthday.

John Carpenter on how Howard Hawks's "Rio Bravo" (1959) inspired him to become a filmmaker: "As I got older I began to see that certain directors did certain things. One of the earliest examples of this was Roger Corman. I started going to see these exciting, fast, kind of cheesy but really fun monster movies, and there was one name that kept coming up on the screen: Roger Corman. 'It Conquered the World' (1956), 'Not of This Earth' (1957), 'Attack of the Crab Monsters' (1957), 'The Undead' (1957)... But | really understood for the first time what a director did when I saw 'Rio Bravo' in 1959. There was something about that movie that was like home and I can't really explain it. It was held over in Bowling Green for three or four weeks in a row because people kept coming to see it. I abandoned to see what was new in the other movie house in town to see this movie every weekend again and again because there was something in it that was different from the other westerns I had seen. I had certainly seen John Wayne before. He had become a part of my growing-up experience. He was the action guy, the cowboy. He was the guy in 'Flying Tigers' (1942) who was flying the airplanes. So what was so different about that movie? Then I became aware of this credit: “Howard Hawks’ Rio Bravo.” I looked at the poster and I said to myself, “Who is this guy? He didn't write the movie and he wasn't starring in it so why is his name up here? And why is he last in the credits?” All these things started to occur to me, but it was the emotional impact of the film that got me to start using my brain. Some way I figure out that this director made that movie." ("The Prince of Darkness: The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering the great American filmmaker Howard Hawks on his 130th birthday.

DepressedBergman

55,688 görüntüleme • 3 ay önce

According to Roy Scheider, "Filming 'Sorcerer' (1977) made 'Jaws' (1975) look like a picnic". He considered the Bridge scene to be the most dangerous he has ever acted in. The scene was so real that he said, "What the audience will see on that screen is what really happened." Building the bridge cost about a million dollars. It took 3 months to complete. Friedkin called it "A mad enterprise and definitely life threatening". The bridge was built on what they considered to be a "perfect river" in Dominican Republic. It was 12 feet deep. However, there were weeks without rainfall and the level of the river started dropping. The river has never went dry before according to the locals. When the bridge was completed, the river had only 1 feet of water making it impossible to film the scene there. With only 2 scenes left to film, the crew had to leave for Mexico to shoot the bridge scene. So they decided to shoot the scene in a river in an Aztec village in a remote location in Mexico. The Bridge had to be reassembled and anchored in the new location. The shutdown of production had lasted a month which was a huge expense to the management. When the crew arrived at the village, there was a huge exodus of the local population. When Friedkin enquired, he was informed by one of the authorities that it was because of word of William Friedkin's arrival. They were a deeply religious people, and when they heard the man who made "The Exorcist" (1973) was coming to their village: they felt it was "bad karma". But few of the locals stayed and helped with the filming. Before arriving, Friedkin was informed that it rained often in the area, but didn't know that it was only in the summer season. Since it was the fall, there was no rain and the river began to drop at the rate of six inches or more a day. The water was diverted to the location of the bridge in the river using large pipes and pumping equipment. Since Friedkin wanted to shoot the scene in the rain, they brought in half a dozen large sprinklers that drew water from upriver. The scene runs twelve minutes, roughly 10 percent of the final cut, but it took months to complete and cost more than $3 million, most of it not budgeted. ("The Friedkin Connection: A Memoir", William Friedkin, 2013 & Roy Scheider's interview to the The New York Times, 1977) P.S: On this day, 49 years ago, "Sorcerer" (1977) was released in the USA.

According to Roy Scheider, "Filming 'Sorcerer' (1977) made 'Jaws' (1975) look like a picnic". He considered the Bridge scene to be the most dangerous he has ever acted in. The scene was so real that he said, "What the audience will see on that screen is what really happened." Building the bridge cost about a million dollars. It took 3 months to complete. Friedkin called it "A mad enterprise and definitely life threatening". The bridge was built on what they considered to be a "perfect river" in Dominican Republic. It was 12 feet deep. However, there were weeks without rainfall and the level of the river started dropping. The river has never went dry before according to the locals. When the bridge was completed, the river had only 1 feet of water making it impossible to film the scene there. With only 2 scenes left to film, the crew had to leave for Mexico to shoot the bridge scene. So they decided to shoot the scene in a river in an Aztec village in a remote location in Mexico. The Bridge had to be reassembled and anchored in the new location. The shutdown of production had lasted a month which was a huge expense to the management. When the crew arrived at the village, there was a huge exodus of the local population. When Friedkin enquired, he was informed by one of the authorities that it was because of word of William Friedkin's arrival. They were a deeply religious people, and when they heard the man who made "The Exorcist" (1973) was coming to their village: they felt it was "bad karma". But few of the locals stayed and helped with the filming. Before arriving, Friedkin was informed that it rained often in the area, but didn't know that it was only in the summer season. Since it was the fall, there was no rain and the river began to drop at the rate of six inches or more a day. The water was diverted to the location of the bridge in the river using large pipes and pumping equipment. Since Friedkin wanted to shoot the scene in the rain, they brought in half a dozen large sprinklers that drew water from upriver. The scene runs twelve minutes, roughly 10 percent of the final cut, but it took months to complete and cost more than $3 million, most of it not budgeted. ("The Friedkin Connection: A Memoir", William Friedkin, 2013 & Roy Scheider's interview to the The New York Times, 1977) P.S: On this day, 49 years ago, "Sorcerer" (1977) was released in the USA.

DepressedBergman

76,740 görüntüleme • 2 ay önce

GIVE PEACE A CHANCE First released on July 4, 1969. Yoko: All those Vietnam protests really changed the world. There was always that element who were really resisting it. That was the saving grace – that people were aware that they were that young generation who were really against it. And so it worked very well for the world. And the Bed-In was just part of it, a definite part of it. It was a statement on a very theatrical level and I think it was very effective. We were artists and did it our own way. We felt very good about it then, and it was such an incredibly strange thing that we were doing. At the time it was a courageous thing to do. John was making the statement in a way that he was looking at the far, far future. I saw it in his eyes. He was saying, ‘OK this is what we’re going to do together.’ And we’re going to give peace a chance. To the world.

GIVE PEACE A CHANCE First released on July 4, 1969. Yoko: All those Vietnam protests really changed the world. There was always that element who were really resisting it. That was the saving grace – that people were aware that they were that young generation who were really against it. And so it worked very well for the world. And the Bed-In was just part of it, a definite part of it. It was a statement on a very theatrical level and I think it was very effective. We were artists and did it our own way. We felt very good about it then, and it was such an incredibly strange thing that we were doing. At the time it was a courageous thing to do. John was making the statement in a way that he was looking at the far, far future. I saw it in his eyes. He was saying, ‘OK this is what we’re going to do together.’ And we’re going to give peace a chance. To the world.

Yoko Ono

121,689 görüntüleme • 2 ay önce

1994. Parliament Lobby. Kampala. The Constituent Assembly was debating the shape of a new Uganda when a young army captain, Noble Mayombo, rose to move a motion. It was a small thing, on paper: Change the name of the national army. But Mayombo understood that names carry power. The Name and the Man: Mayombo's Motion for the UPDF - 1994 "This is no longer the army of a resistance," he told his fellow delegates. "It must be the defence force of a people." The motion was simple in phrasing but profound in meaning: That the National Resistance Army, born of the bush war, be renamed the Uganda People's Defence Forces. Mayombo reminded the Assembly that while the NRA had fought valiantly, it belonged to a chapter of struggle. A constitution, he argued, must speak for all citizens, not for a movement. The army's name had to project neutrality, professionalism, and national ownership. Mayombo's words carried weight beyond his years. He had fought in the bush, but he understood that the new constitution was meant to bury the divisions of the past and build a common future. By proposing the name change, he was not merely editing a document; He was redefining the relationship between the soldier and the citizen. The word "People's" was not cosmetic but constitutional, a signal that the guns were now bound by law, accountable to Ugandans rather than to a party. Outside the chamber, in the Parliament lobby, seasoned journalist Bart Kakooza intercepted Mayombo for an interview. Standing tall, the young captain repeated the essence of his argument into Kakooza's microphone. Through radio and newspapers, his vision reached far beyond Kampala. For many Ugandans, that was the first time they heard the phrase Uganda People's Defence Forces. It carried a freshness that suggested rebirth, a shift from partisan struggle to shared nationhood. When the Assembly finally voted and Article 208 enshrined the UPDF in the 1995 Constitution, the moment was sealed. The NRA passed into history, and the UPDF was born in law. For Noble Mayombo, it was more than a legal victory; it was his signature contribution to the republic. The image endures: A young man in Parliament, moving a motion with conviction, then stepping into the lobby to explain to a journalist, and to the nation, why Uganda's army must belong to the people. Mayombo's motion ensured that the army would no longer be the instrument of a movement, but the shield of a nation. It was not just semantics. It was a declaration that Uganda had moved from revolution to constitution, from the bullet to the ballot. The name change may have been a small clause in a long document, but it was the mark of a mind that understood that the words you choose determine the nation you build. What does it take to stand up in an assembly of elders and veterans and suggest that the revolution's army should be renamed for the people it serves? Noble Mayombo was a young captain when he moved that motion. He understood that constitutions are not just about power, they are about identity, and the names we give our institutions define the country we become. The NRA won the war. The UPDF was built to keep the peace. #UPDF #NRA #Ughistory NRM Party Uganda Peoples' Defence Forces (UPDF) Government of Uganda Bart Kakooza Uganda Media Centre

1994. Parliament Lobby. Kampala. The Constituent Assembly was debating the shape of a new Uganda when a young army captain, Noble Mayombo, rose to move a motion. It was a small thing, on paper: Change the name of the national army. But Mayombo understood that names carry power. The Name and the Man: Mayombo's Motion for the UPDF - 1994 "This is no longer the army of a resistance," he told his fellow delegates. "It must be the defence force of a people." The motion was simple in phrasing but profound in meaning: That the National Resistance Army, born of the bush war, be renamed the Uganda People's Defence Forces. Mayombo reminded the Assembly that while the NRA had fought valiantly, it belonged to a chapter of struggle. A constitution, he argued, must speak for all citizens, not for a movement. The army's name had to project neutrality, professionalism, and national ownership. Mayombo's words carried weight beyond his years. He had fought in the bush, but he understood that the new constitution was meant to bury the divisions of the past and build a common future. By proposing the name change, he was not merely editing a document; He was redefining the relationship between the soldier and the citizen. The word "People's" was not cosmetic but constitutional, a signal that the guns were now bound by law, accountable to Ugandans rather than to a party. Outside the chamber, in the Parliament lobby, seasoned journalist Bart Kakooza intercepted Mayombo for an interview. Standing tall, the young captain repeated the essence of his argument into Kakooza's microphone. Through radio and newspapers, his vision reached far beyond Kampala. For many Ugandans, that was the first time they heard the phrase Uganda People's Defence Forces. It carried a freshness that suggested rebirth, a shift from partisan struggle to shared nationhood. When the Assembly finally voted and Article 208 enshrined the UPDF in the 1995 Constitution, the moment was sealed. The NRA passed into history, and the UPDF was born in law. For Noble Mayombo, it was more than a legal victory; it was his signature contribution to the republic. The image endures: A young man in Parliament, moving a motion with conviction, then stepping into the lobby to explain to a journalist, and to the nation, why Uganda's army must belong to the people. Mayombo's motion ensured that the army would no longer be the instrument of a movement, but the shield of a nation. It was not just semantics. It was a declaration that Uganda had moved from revolution to constitution, from the bullet to the ballot. The name change may have been a small clause in a long document, but it was the mark of a mind that understood that the words you choose determine the nation you build. What does it take to stand up in an assembly of elders and veterans and suggest that the revolution's army should be renamed for the people it serves? Noble Mayombo was a young captain when he moved that motion. He understood that constitutions are not just about power, they are about identity, and the names we give our institutions define the country we become. The NRA won the war. The UPDF was built to keep the peace. #UPDF #NRA #Ughistory NRM Party Uganda Peoples' Defence Forces (UPDF) Government of Uganda Bart Kakooza Uganda Media Centre

UgHistory

13,021 görüntüleme • 2 ay önce

James Sample: In the state of Georgia, there was a count, a recount, and there was a re-recount. All of the challenges that led to those counts in Georgia in 2020, is now the basis on which the affidavit for the warrant that was used to raid the Fulton County Election Office and seize those election materials. It is the same exact individuals, it is the same exact argument, and it is the same exact "evidence" that's being used, all of which was disproven time and again.

James Sample: In the state of Georgia, there was a count, a recount, and there was a re-recount. All of the challenges that led to those counts in Georgia in 2020, is now the basis on which the affidavit for the warrant that was used to raid the Fulton County Election Office and seize those election materials. It is the same exact individuals, it is the same exact argument, and it is the same exact "evidence" that's being used, all of which was disproven time and again.

Blue Georgia

23,281 görüntüleme • 7 ay önce

This was not abstract. It was not theoretical. Real animals were destroyed. Real people lost livelihoods they spent years building. Turning that into a joke at a formal event was a choice. The Ostrich Farm Mattered Calling it a roast does not excuse it. Leadership is not about landing laughs in a room full of power. It is about judgment, empathy, and understanding the weight of decisions. The loss was real. The joke made it symbolic.l…And what it symbolized was distance from consequences. That is not humor. That is a failure of leadership.

This was not abstract. It was not theoretical. Real animals were destroyed. Real people lost livelihoods they spent years building. Turning that into a joke at a formal event was a choice. The Ostrich Farm Mattered Calling it a roast does not excuse it. Leadership is not about landing laughs in a room full of power. It is about judgment, empathy, and understanding the weight of decisions. The loss was real. The joke made it symbolic.l…And what it symbolized was distance from consequences. That is not humor. That is a failure of leadership.

Unfiltered With Kels

17,761 görüntüleme • 9 ay önce

This woman was trying to break into the fashion world. She and her photographer were going around NYC taking photographs that were bold and daring. She was in the process of taking this photo when a woman starts to yell at her about how she can’t work without looking out the window and seeing the young lady hanging onto the guard rail for a pose. She expressed she was worried she was going to fall. The young lady was more interested that the woman owns a magazine than she was about her own safety, she then proceeds to call her a Karen for their interaction. To me it seems like she was voicing honest concern, she wasn’t trying to cause an issue and it was in fact the actions of the young lady that was the cause of the distraction for those in the city that day. What is your take on this, was this a valid concern on the lady’s behalf?

This woman was trying to break into the fashion world. She and her photographer were going around NYC taking photographs that were bold and daring. She was in the process of taking this photo when a woman starts to yell at her about how she can’t work without looking out the window and seeing the young lady hanging onto the guard rail for a pose. She expressed she was worried she was going to fall. The young lady was more interested that the woman owns a magazine than she was about her own safety, she then proceeds to call her a Karen for their interaction. To me it seems like she was voicing honest concern, she wasn’t trying to cause an issue and it was in fact the actions of the young lady that was the cause of the distraction for those in the city that day. What is your take on this, was this a valid concern on the lady’s behalf?

SonnyBoy🇺🇸

47,640 görüntüleme • 6 ay önce

At the Daytona 500 in February of 2001 Dale Earnhardt Sr. hit the wall at the end and tragically lost his life. In July NASCAR returned for the first time. It was the first BIG race I went to. I had been to the pocono infield many times but this was Daytona. I was a Jimmy Spencer fan at that point but what I saw that night left me speechless and teary eyed. I watched a man take the victory at a track that took his dad's life. Every one in that place was a junior fan that night. It is absolutely one of my most fond memories.

At the Daytona 500 in February of 2001 Dale Earnhardt Sr. hit the wall at the end and tragically lost his life. In July NASCAR returned for the first time. It was the first BIG race I went to. I had been to the pocono infield many times but this was Daytona. I was a Jimmy Spencer fan at that point but what I saw that night left me speechless and teary eyed. I watched a man take the victory at a track that took his dad's life. Every one in that place was a junior fan that night. It is absolutely one of my most fond memories.

Johnny B. Good

21,248 görüntüleme • 4 ay önce

A VISIT TO GWANDARA, ABUJA THE GRASSROOTS ARE READY Our visit to Gwandara in Abuja was more than a routine engagement it was a clear reminder that the true strength of any movement lies with the people. On the ground, among the grassroots, the message was unmistakable, it is that they are ready.

A VISIT TO GWANDARA, ABUJA THE GRASSROOTS ARE READY Our visit to Gwandara in Abuja was more than a routine engagement it was a clear reminder that the true strength of any movement lies with the people. On the ground, among the grassroots, the message was unmistakable, it is that they are ready.

Omoyele Sowore

17,591 görüntüleme • 5 ay önce

🇮🇱🇺🇸🇮🇷🇹🇷⚡️– Former head of the Israeli intelligence, Tamir Hayman: "There was a sequence of special operations for Iran that were supposed to happen, starting with the the centerpiece of all the 'invasion by Kurds' and moving on to Ahmedinejad, who was a part of that sequence, It was not executed because Erdogan pressured Trump that it was a bad idea to support the Kurds."

🇮🇱🇺🇸🇮🇷🇹🇷⚡️– Former head of the Israeli intelligence, Tamir Hayman: "There was a sequence of special operations for Iran that were supposed to happen, starting with the the centerpiece of all the 'invasion by Kurds' and moving on to Ahmedinejad, who was a part of that sequence, It was not executed because Erdogan pressured Trump that it was a bad idea to support the Kurds."

MonitorX

31,432 görüntüleme • 3 ay önce